This tapestry was inspired by the medieval tapestries I saw during my travels as a Winston Churchill Fellow and the medieval frescos I saw in Bulgaria. Many I saw depicted various Marys weeping over Christ but it occurred to me one would not be caught weeping in front of the murderers of one’s loved one, but as an accuser one would look back with dignity and a spine of oak. The idea had a personal resonance with me and this is the result, I as the weaver, and also a Mary (my middle name) gets to look out through them. The medieval images are known as the Lamentation of Christ, and I have called this The Lamentation as a nod to the original source.
This tapestry was inspired by the medieval tapestries I saw during my travels as a Winston Churchill Fellow and the medieval frescos I saw in Bulgaria. Many I saw depicted various Marys weeping over Christ but it occurred to me one would not be caught weeping in front of the murderers of one’s loved one, but as an accuser one would look back with dignity and a spine of oak. The idea had a personal resonance with me and this is the result, I as the weaver, and also a Mary (my middle name) gets to look out through them. The medieval images are known as the Lamentation of Christ, and I have called this The Lamentation as a nod to the original source.
This tapestry was inspired by the medieval tapestries I saw during my travels as a Winston Churchill Fellow and the medieval frescos I saw in Bulgaria. Many I saw depicted various Marys weeping over Christ but it occurred to me one would not be caught weeping in front of the murderers of one’s loved one, but as an accuser one would look back with dignity and a spine of oak. The idea had a personal resonance with me and this is the result, I as the weaver, and also a Mary (my middle name) gets to look out through them. The medieval images are known as the Lamentation of Christ, and I have called this The Lamentation as a nod to the original source.
Chrissie Freeth
Handwoven Tapestries
Below are details of some selected solo and group shows. For future events check out my Instagram account. A full list of past exhibitions and events can be found in my CV
New Light Prize Exhibition 2023-2024
The New Light Prize exhibition celebrates contemporary art by Northern artists. The touring exhibition visited galleries across the North and in London and I was pretty chuffed that my tapestry Light Footfalls was not only selected for the exhibition, but was was voted as the favourite by the visitors to the Biscuit Factory in Newcastle. As my work is so inspired by medieval iconography and weavers I am always keen to avoid pastiche so it was reassuring to me that Light Footfalls was included among the work of these wonderful painters and printers.
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​The exhibition was seen at
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The Mercer Art Gallery, Harrogate, 12-October - 31 December 2024
The Biscuit Factory, Newcastle, 22 June - September 2024 (image right)
Rheged Arts Centre, Penrith, 14 March - 2 June 2024
Bankside Gallery, ASouthbank, 26 February - 3 March 2024
Williamson Art Gallery & Museum, Birkenhead 29 September-22 December 2023
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Details of the shortlisted artists, a catalogue and the work of the other prize winners can all be found on the New Light website.
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Tales from the Loom
Solo exhibition, 4-6 May 2024
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Because it takes so long to make tapestries and I always like to show new work, I do not exhibit too often. However the Saltaire Arts Trail which takes over the UNESCO World Heritage Site where I happen to live, gave me the opportunity to show my work on my home turf. The wonderful organisers set up the solo exhibition in the United Reformed Church with its stunning Italianate architecture.
The exhibition proved that churches are the natural habitat for tapestries, even when their influences are centuries apart. Visitors were non-stop and came from around the country to visit it. Seeing visitors sitting in the pews just taking my work in is a sight I will not forget. Of course they could have just been knackered and glad of a chance of a sit down.
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The Saltaire Inspired website here.
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Beyond Words, Ripon Cathedral​
solo exhibition, 2022
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​It has been argued that after the Renaissance tapestries began to imitate paintings, and the inherent qualities that made medieval tapestries a unique art form became diluted. I travelled to France, Belgium, Switzerland, Germany and New York to study medieval tapestries as a Churchill Fellow to better understand what those inherent qualities and techniques were. This exhibition charted the growing influence of that research on my practice. It demonstrated my growing acceptance and appreciation for the true nature and limitations of the medium and an ever growing reliance on medieval technique and the increasing use of symbolism as a tool in the storytelling which is what motivates me as a weaver and artist.
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This exhibition was initially planned for 2020 but inevitably was postponed because of Covid. The impact of the pandemic is evident in the later tapestries on show. Most of my earlier tapestries looked to family history for storytelling inspiration, but during lockdown I developed the means to look inward for stories. They are highly personal and introspective, but I hope they have resonance with others.
Tapestries take months to weave and demand considerable wall space and this is the first time I saw my work to date hanging together. Tapestries have a long association with Cathedrals. Seeing my work, so inspired by the work of medieval weavers, in this medieval environment is a real privilege
The exhibition ran from 28th April – 25 May 2022. And is one of many events that celebrated the 1350th anniversary of the Cathedral’s founding.
​​​Royal Academy, 2021
Royal Academy, London
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Although not always too favourable towards textiles, the 2021 Royal Academy Summer Exhibition coordinated by Yinka Shonibare under the theme of Reclaiming Magic, meant it doors were for opened for nontraditional work and artists.
I was thrilled that one of my tapestries, Memento Mori, was accepted. It was a huge confirmation for me that I was on the right path with the decision I made to devote myself to making tapestries, however hard it can be.
The exhibition took place in the wake of Covid, from 22 September 2021 to 2 January 2022.
Cordis Prize for Tapestry Shortlist Exhibition
Inverleith House Gallery, The Royal Botanic Gardens, Edinburgh
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The Cordis Prize is a biennial event founded by Miranda Harvey and Ian Rankin. It seeks to celebrate ambition and scale in contemporary weaving worldwide. In 2021, the fifth and latest iteration, Song of the Woods was shortlisted and joined the exhibition at Inverleith House Gallery at the Royal Botanic Gardens in Edinburgh. The exhibition ran from 23 October - 12 December 2021.​
Artapestry6, 2021-2022
Artapestry seeks to promote and encourage innovation in contemporary tapestry. It celebrates the best of tapestry across Europe and in 2021 40 artists across 16 countries took part. My Saint Catherine tapestry was included.
It was the first time I had shown work alongside other weavers, many of whom I had admired for years. It was a huge honour. Alas Brexit has made it difficult to reapply, but you can see the work of artists taking part in Artapestry6 here. Artapestry7 is currently in progress.​
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Artapestry6 exhibited at
ArtCentre Silkeborg Bad, Denmark, 16 January - 18 April 2021
Gulbene Municipal History and Art Museum, Latvia, 20 July - 1st October
Kulturcentrum Ronneby, Sweden, 13 November - 10 January 2022
SINKKA Art Museumat Kerava, Finland, 15 May - 30 September 2022
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